Laban's The Mastery of Movement on the Stage, first published in 1950, quickly came to be accepted as the standard work on his conception of human move-ment. When he died, Laban was in the process of preparing a new edition of the book, and so for some time after his death it was out of print. That a second edition appeared was solely due to the efforts of Lisa Ullmann, who, better than any other person, was aware of the changes that Laban had intended to make. The rather broader treatment of the subject made advis-able the change of title, for it was recognised that the book would appeal to all who seek to understand movement as a force in life. In this fourth edition Lisa Ullmann has taken the opportunity to make margin annotations to indicate the subject matter referred to in a particular section of the text, so that specified topics may be easily found. Kinetograms have been added to most of the examples in Chapters 2 and 3, as Laban originally intended, for the growing number of people who read and write movement notation. Lisa Ullmann has also compiled an Appendix on the the structure of effort, drawing largely on material from an unpublished book by Laban. The relationship between the inner motivation of movement and the outer functioning of the body is explored. Acting and dancing are shown as activities deeply concerned with man's urge to establish values and meanings. The student is introduced to basic principles underlying movement expres-sion and experience and the numerous exercises are intended to challenge his or her intellectual, emotional and physical responses. The many descrip-tions of movement scenes and mine-dances are designed to stimulate penetra-tion into man's inner life from where movement and action originate.

The Legat Legacy brings back into print two classic works that offer rare insights into the golden age of Russian ballet. The first, Ballet Russe: Memoirs of Nicolas Legat, takes readers into the last three decades of the Imperial Ballet before the 1917 Russian Revolution. Written by Nicolas Legat (1869-1937), one of the great creative geniuses of classical ballet, these memoirs recount Legat's experiences as principal dancer before he fled to Europe to escape the Russian Civil War. The book is filled with memorable character descriptions and includes some of Legat's unique, celebrated caricatures.The second, Heritage of a Ballet Master: Nicolas Legat, is a valuable testament to Legat's classroom pedagogy. Assembled by Legat student, professional dancer, and prolific author John Gregory (1914-1996) to showcase the four complete classes that Legat wrote out by hand for his student the ballet star Andre Eglevsky (1917-1977), this book also features several Legat classes remembered by other students. In addition, it contains music for the classes, Legat's drawings, photographs of him in performance, and other archival material. It includes a brief biography of Legat and fascinating remembrances from his former students, among them Alicia Markova and Leonide Massine, and a forward by Alexandra Danilova. Marked by their variety and musicality, Legat's teachings are preserved here for future generations of dancers to discover.

Prominent components of Louis XIV's propaganda, the arts of spectacle also became sources of a potent resistance to the monarchy in late seventeenth-century France. With a particular focus on the court ballet, comedy-ballet, opera, and opera-ballet, Georgia J. Cowart tells the long-neglected story of how the festive arts deployed an intricate network of subversive satire to undermine the rhetoric of sovereign authority.
With bold revisionist strokes, Cowart traces this strain of artistic dissent through the comedy-ballets of Jean-Baptiste Lully and Moliere, the late operatic works of Lully and the operas of his sons, the opera-ballets of Andre Campra and his contemporaries, and the related imagery of Antoine Watteau's well-known painting "The Pilgrimage to Cythera." She contends that through a variety of means, including the parody of old-fashioned court entertainments, these works reclaimed traditional allegories for new ideological aims, setting the tone for the Enlightenment. Exploring these arts from the perspective of spectacle as it emerged from the court into the Parisian public sphere, Cowart ultimately situates the ballet and related genres as the missing link between an imagery of propaganda and an imagery of political protest.

This is a beginner's guide to choreography. Everything you need on one DVD! For the first time, stage choreography has been simplified so any beginner can visually learn all the essentials in one viewing! This DVD and workbook set makes a superb toolkit for building confidence in untrained dancers and teaching them the basics they need to participate in a choreographed dance number for any musical show. A convenient interactive menu of nine sections allows the user to see the step-by-step action over and over again as needed. The DVD shows inexperienced teens doing musical counting in action to fit both simple and advanced dance routines and musical styles. Dancer/narrator Adrea Gibs demonstrates how to add style to any dance pattern with body and hand movements. She defines the action of fun dance steps from the Charleston to the Shim Sham. An incomparable resource for creating an endless number of choreographic combinations. 45-minute DVD with workbook.

First full-scale thematic analysis of Pina Bausch's Tanztheater, critically evaluating the impact of modernist theatre on her choreographic method This book presents a new reading of Pina Bausch's dance theatre, orienting it within an international legacy of performance practice. The discussion considers not only the influence of German and American modern dance on Bausch's work but, crucially, interrogates parallels with modernist and postdramatic theatre (including Antonin Artaud, Samuel Beckett, Jerzy Grotowski, and Robert Wilson), the influence of which has been largely neglected in existing studies of her oeuvre. Pina Bausch's Dance Theatre provides a wide-ranging study of Bausch's aesthetic and methods of practice, with case studies ranging from the beginning of her career to her final choreographies. Key Features The first full-scale study interrogating the relationship between Bausch's Tanztheater and modernist theatre practice, structured around a chronological framework of case study choreographies A new theorisation of the development of Bausch's oeuvre, locating her approach in a broader context of intercultural artistic exchange in the post-WWII period Draws on literary and theatre theory to form an interdisciplinary methodology for understanding and interrogating Bausch's oeuvre Based on extensive archival research and a specialised knowledge of the evolution of modern dance

Anne Bean: Self Etc. is the first major monograph about the performance work of artist Anne Bean, a noted international figure who has been working actively since the 1960s. Part of the Intellect Live series, co-published with the Live Art Development Agency, this book includes extensive visual documentation of Bean's performances, critical essays by leading scholars of art and performance and a series of new visual essays by the artist. Additional contributions include documentation of collaborations with influential artists, such as Bean's Drawn Conversations, made at Franklin Furnace, New York, in collaboration with Harry Kipper, Karen Finley, Kim Jones and Fiona Templeton; and TAPS: Improvisations with Paul Burwell, involving numerous artists, including Paul McCarthy, Steven Berkoff, Evan Parker, Brian Catling, Carlyle Reedy, Rose English, David Toop, Lol Coxhill, Jacky Lansley and Maggie Nicols. Lavishly illustrated and including previously unseen images, Anne Bean explores and expands the nature, form and contexts that artistic collaboration can take.

This anthology examines the origins, meanings, and enduring power of the powwow. Held on and off reservations, in rural and urban settings, powwows are an important vehicle for Native peoples to gather regularly. Although sometimes a paradoxical combination of both tribal and intertribal identities, they are a medium by which many groups maintain important practices. "Powwow" begins with an exploration of the history and significance of powwows, ranging from the Hochunk dances of the early twentieth century to present-day Southern Cheyenne gatherings to the contemporary powwow circuit of the northern plains. Contributors discuss the powwow's performative and cultural dimensions, including emcees, song and dance, the expression of traditional values, and the Powwow Princess. The final section examines how powwow practices have been appropriated and transformed by Natives and non-Natives during the past few decades. Of special note is the use of powwows by Native communities in the eastern United States, by Germans, by gay and lesbian Natives, and by New Agers.

A fascinating exploration of our reality through the eyes of a physicist and a dancer-and an engaging introduction to both disciplines From stepping out of our beds each morning to admiring the stars at night, we live in a world of motion, energy, space, and time. How do we understand the phenomena that shape our experience? How do we make sense of our physical realities? Two guides-a former member of New York City Ballet, Emily Coates, and a CERN particle physicist, Sarah Demers-show us how their respective disciplines can help us to understand both the quotidian and the deepest questions about the universe. Requiring no previous knowledge of dance or physics, this introduction covers the fundamentals while revealing how a dialogue between art and science can enrich our appreciation of both. Readers will come away with a broad cultural knowledge of Newtonian to quantum mechanics and classical to contemporary dance. Including problem sets and choreographic exercises to solidify understanding, this book will be of interest to anyone curious about physics or dance.

This book is an international anthology about dance seen as a world of dreams, ideals or paradises lost - a place where identity and reality are at stake. Through essays, interviews, and analytical reflections, such diverse subjects are treated as Bournonville's ideal of a critic, Nijinsky's faun versus the romantic dream of elusive women, the broken marriage between music and dance, dancing as an erotic motif in the paintings of the Danish Golden Age, and the beast in dance from Swan Lake to butoh.

Theorizing the experiences of black and brown bodies in hip hop dance Baring Unbearable Sensualities brings together a bold methodology, an interdisciplinary perspective and a rich array of primary sources to deepen and complicate mainstream understandings of Hip Hop Dance, an Afro-diasporic dance form, which have generally reduced the style to a set of techniques divorced from social contexts. Drawing on close observation and interviews with Hip Hop pioneers and their students, Rosemarie A. Roberts proposes that Hip Hop Dance is a collective and sentient process of resisting oppressive manifestations of race and power. Roberts argues that the experiences of marginalized black and brown bodies materialize in and through Hip Hop Dance from the streets of urban centers to contemporary worldwide expressions. A companion web site contains over 30 video clips referenced in the text.

Text in Danish with an introduction in German. The Lumbye-catalogue is a catalogue of printed ballet and dance compositions by the Danish composer H C Lumbye. It provides us with a chronological survey of his printed works including a detailed index. The works were performed by Tivoli's orchestra which he conducted from its establishment in 1843. Co-published by The Royal Library in Copenhagen and Museum Tusculanum Press.

Marian Smith recaptures a rich period in French musical theater when ballet and opera were intimately connected. Focusing on the age of "Giselle" at the Paris Opera (from the 1830s through the 1840s), Smith offers an unprecedented look at the structural and thematic relationship between the two genres. She argues that a deeper understanding of both ballet and opera--and of nineteenth-century theater-going culture in general--may be gained by examining them within the same framework instead of following the usual practice of telling their histories separately. This handsomely illustrated book ultimately provides a new portrait of the Opera during a period long celebrated for its box-office successes in both genres.

Smith begins by showing how gestures were encoded in the musical language that composers used in ballet and in opera. She moves on to a wide range of topics, including the relationship between the gestures of the singers and the movements of the dancers, and the distinction between dance that represents dancing (entertainment staged within the story of the opera) and dance that represents action. Smith maintains that ballet-pantomime and opera continued to rely on each other well into the nineteenth century, even as they thrived independently. The "divorce" between the two arts occurred little by little, and may be traced through unlikely sources: controversies in the press about the changing nature of ballet-pantomime music, shifting ideas about originality, complaints about the ridiculousness of pantomime, and a little-known rehearsal score for "Giselle.""

This is an epic tale; a fantasy replete with grand romances and countless avenues leading to divine love. Venture through diverse time perspectives and complex mythologies of the gods in this multidimensional drama, inspired by ancient Asian principles. The Gold Lotus is a dance in written form; a saga with a rhythmic delivery that will transport you through intricate plots, legendary wars, unsettling separations and passionate love, unbound. Manifested in a time of darkness and war, the celestial being Kanu prepares for a journey brought on by Muniji, the minstrel saint, to face a destiny that stands between destruction and salvation. Weaving through the ways of love and power, the almighty Kanu will learn to become the saviour of his heavenly kingdom while discovering the deepest desires of the heart and defeating evil - both within and without. As the heavenly kingdom yearns for its saviour, a formidable and broken God of War comes to battle with an unpredictable foe that has bested the mightiest of warriors before him: finding the lost love capable of fulfilling the void in his heart. What (or who) he finds as the answer proves to be a riddle never before encountered by the revered warrior. Alongside Kanu and a kingdom of mystical beings that oversee the forces of existence, the celestial war for balance is far from won and the stakes grow higher with every heartbeat.

Seven lessons follow a young dancer's development, from basic positions and postures to more advanced levels.

From its earliest manifestations on the street corners of nineteenth-century Buenos Aires to its ascendancy as a global cultural form, tango has continually exceeded the confines of the dance floor or the music hall. In Tango Lessons, scholars from Latin America and the United States explore tango's enduring vitality. The interdisciplinary group of contributors-including specialists in dance, music, anthropology, linguistics, literature, film, and fine art-take up a broad range of topics. Among these are the productive tensions between tradition and experimentation in tango nuevo, representations of tango in film and contemporary art, and the role of tango in the imagination of Jorge Luis Borges. Taken together, the essays show that tango provides a kaleidoscopic perspective on Argentina's social, cultural, and intellectual history from the late nineteenth to the early twenty-first centuries. Contributors. Esteban Buch, Oscar Conde, Antonio Gomez, Morgan James Luker, Carolyn Merritt, Marilyn G. Miller, Fernando Rosenberg, Alejandro Susti

This second volume of John Froy's memoir, a sequel to his childhood story in 70 Waterloo Road, takes us from Italy to Reading University and Falmouth School of Art with many twists and turns between. The memoir chronicles the life of an art student in the 70s: a time of great experiment and change; the figurative/abstract divide in painting and sculpture; the new photography, film and Happenings. And in the gaps, while extricating himself from the family home, being a volunteer archaeologist in Assisi, an osprey warden in Scotland, a London bedsit and dead-end job, a Wiltshire valley idyll and landscape painting in a caravan through a Cornish winter. 'Things may come and things may go, but the art school dance goes on for ever.' (Pete Brown, 1970)

This definitive work on the contribution of the Gypsies to the development of flamenco traces their influences on music from their long migration from India, through Iran, Turkey, Greece, and Hungary, to their persecution in Spain. This new updated edition provides fuller explanations of some of the technical terms and an invaluable biographical dictionary of 200 of the foremost Gypsy flamenco artists from its origins to the present day, as well as a discography and videography.

Moving Lessons is an insightful and sophisticated look at the origins and influence of dance in American universities, focusing on Margaret H'Doubler (1889-1982), who established the first university courses and the first degree program in dance. Janice Ross shows how H'Doubler changed the way Americans thought, not just about female physicality but also about higher education for women. In this second edition, Ross adds new details on H'Doubler's radical pedagogy-including her use of a skeleton as a teaching tool in the classroom-and reflections on recent developments in dance studies and education.

This comprehensive book will serve as a step-by-step guide to Laban/Bartenieff Movement Analysis, updating and expanding concepts and practices. Following extensive research on the method developed by Rudolf von Laban and his disciples, this book explains movement principles, exercises, and motif symbols in detail. Organized according to the four categories of Laban/Bartenieff Movement Analysis (Body-Effort-Shape-Space), additional chapters present the different developments of the theory in relation to performing arts and movement therapy. The author draws on Laban/Bartenieff Movement Analysis as a dynamic and connective approach, traveling from classroom and studio to everyday life, stage performance, and film acting. The Laban perspective serves as a multimedia artistic viewpoint, intertwining theory, learning, and imagery. This unique approach to this internationally used method is essential reading for educators and students of dance and other performing arts and movement-related professions.

Every dancer of every age, ability, and style should be able to engage fully in the act of dancing and be encouraged to achieve their potential without risk of harm to the body or mind. Practical information on all aspects of safe practice that is not too simplistic or complex has not always been easy to find. Enter Safe Dance Practice, by Edel Quin, Sonia Rafferty, and Charlotte Tomlinson. With nearly 60 years of collective experience in the dance profession as creative artists, teachers, and researchers, the authors translate extensive research and evidence-based practice in order to present the principles of safe practice that are essential to any dance experience. Guidelines in Implementing Principles The authors offer evidence-based guidelines on implementing diverse principles in practice, informing and supporting dance practitioners in an ever-growing pool of styles and genres. These guidelines and principles are of use not only to dancers and dance educators but also to choreographers, rehearsal and company directors, and studio managers. The information is underpinned by research in dance science and applied with contextual delivery in mind, ensuring an engaging experience for those accessing the book. Benefits to Readers The authors guide readers in these aspects: * Facilitating a physically and psychologically safe and supportive dance environment * Understanding principles of anatomy and biomechanically sound alignment * Implementing effective physiological preparation and progression through warm-up and cool-down protocols as well as supplementary fitness and conditioning * Minimizing risk of injury and understanding injury management aligned with appropriate rest and recovery strategies * Incorporating advice on nutrition and hydration for enhanced performance and healthy dance practice * Tailoring delivery to the specific needs and demographics of participants for diverse engagement with dance * Evaluating personal practice in order to assess and monitor effective application of the principles Holistic and Inclusive Approach Safe Dance Practice takes a multidisciplinary approach to the components of dancing safely, integrating principles without compromising dancers' artistic creativity and expression. The authors examine not only the immediate variables associated with occurrence of injury but also delve into contributing factors, such as nutrition, alignment, rest and recovery, and supplementary fitness and conditioning. This comprehensive approach is evident throughout, including a dedicated chapter that will help readers apply the principles to dancers of diverse ages, standards, and physical abilities. Features of the Book Safe Dance Practice includes * diagrams that illustrate ideal and compensated alignment and posture, which readers can apply when assessing all dancers in all genres; * case studies that help readers contextualize their learning as they see it portrayed in an applied environment; * at-a-glance chapter summaries and highlighted key points to help readers retain criticaal information; * cross-referencing to guide readers to related information in other areas of the book; and * sources for additional information. Safe Dance Practice contains 11 chapters, which can be accessed sequentially or studied in any order. The first eight chapters present environmental, anatomical, physical, and psychological principles of safe dance practice. Each chapter includes strategies and examples for putting the principles into practice in relation to dance styles and settings. Chapter 9 focuses on injury awareness and management, and chapter 10 offers guidelines on adapting the principles to a range of dance populations. Chapter 11 helps readers to understand the value of continued monitoring of their practice and includes a checklist of safe practices. Six appendixes supply a series of aids and templates to use as learning resources for ongoing professional development. This text offers pragmatic recommendations from the authors, who combine scientific fact with experience. The principles are presented in a practical fashion with many specific examples. The take-home messages, checklists, and templates make this text accessible and valuable. Bridging the Gap Between Science and Practice Safe Dance Practice bridges the gap between academic research and its application for dancers and educators in all levels and genres. It illuminates the principles of working safely in dance so as to support best practice and encourages all dance practitioners and leaders to better understand, communicate, and apply principles of safe dance practice. With its applied perspective on dance science, Safe Dance Practice will resonate with readers who want their dance experience to be factually endorsed while allowing sufficient scope for artistic expression. Such evidence-based practice will enable readers to access wider sources of information to aid their ongoing development whilst empowering them to take responsibility for their own safe dance practice and that of others with whom they interact.